'Elaborating on the well-known aesthetics of the everyday of Ozu's cinema…, anchored in stationary shots, Alain Bergala defines it as one in which 'the technique precedes the action, and never follows it'…, which, among other things, give rise to Ozu's so-called 'empty spaces' or 'still lifes', that is, domestic spaces momentarily devoid of human presence in which one feels ‘the absolute anteriority of the being-thereness of things, of their physical presence’… Likewise, the camera in Tsai [Ming-liang] demonstrates a certain indifference to human presence and on-screen action, meaning that it often remains firmly in place before or after characters have entered or left the screen…’